Upcoming Exhibition at Montclair Art Museum: Ed Kashi - Abandoned Moments

 

Via Montclair Art Museum

Ed Kashi: Abandoned Moments

MARCH 22-MAY 19, 2024

For Ed Kashi, the abandoned moment is the consequence of a fractional instant of surrender. The photographs in this exhibition, made over a 40-year period across four continents and in both black and white and color, reveal glimpses of transitory events filled with frenetic energy–the chaos of everyday life. Embodying photography’s intrinsic power, they preserve moments that can never occur again in exactly the same time and space. In these photographs, geometry, mood, and possibility unite to create something new and magical, capturing the untamed energy of a moment with abandon. 

PREVIEW THE EXHIBITION

ARMENIA, COLOMBIA, 1981, From Ed Kashi Abandoned Moments. Archival pigment print, 20 x 24 in. Photograph courtesy of the artist.

Ed Kashi is a renowned photojournalist, filmmaker, speaker, and educator who has been making images and telling stories for 40 years. His restless creativity has continually placed him at the forefront of new approaches to visual storytelling. Dedicated to documenting the social and political issues that define our times, a sensitive eye and an intimate and compassionate relationship with his subjects are signatures of his intense and unsparing work. As a member of VII Photo, Kashi has been recognized for his complex imagery and its compelling rendering of the human condition.

Along with numerous journalism and photography awards and commissions, Kashi’s images have been published and exhibited worldwide. His photographs are in the collections of a number of major museums, including the George Eastman House, the International Center of Photography, the Museum of the City of New York, The Museum of Fine Arts Houston, and the New Orleans Museum of Art. His editorial assignments and personal projects have generated fourteen books.

Kashi is also a noted teacher, running photography workshops and master classes across the world. He will be offering a master workshop through the Yard School of Art beginning on April 7.

This exhibition, consisting of 29 photographs, is organized by MAM’s Executive Director, Ira Wagner. 

Plan your visit

3 South Mountain Avenue

Montclair, New Jersey 07042-1747

Harwood Museum of Art Centennial

 Via Harwood Museum of Art

On view at the Harwood from June 2023 to January 2024, the Harwood Museum of Art Centennial exhibition will take visitors on a journey through the museum’s rich history. Touchstones will include the cultural history of the land where the museum now stands, and the many roles the property has served since it was purchased by Burt and Lucy Harwood in 1916. The property was the site for Taos’ first library and art gallery, including a permanent art collection from donors such as Mabel Dodge Luhan. It housed the Works Progress Administration’s (WPA) Taos County Project, the University of New Mexico Summer Field School of Art, and served as a nexus for the Taos Moderns.

The Harwood Museum of Art Centennial exhibition is a survey of the museum through time, the history of the town to which it is so central, and the role that art from Taos and its surroundings played in the larger artistic movements of the last century. Through unique historic and contemporary exhibition vignettes, the Centennial is a dynamic chance for guests to understand the evolution of one of the Southwest’s oldest museums. With a focus on the future, contemporary artists will be showcased through a series of community art installations and a juried artist commission.

Monroe Gallery of Photography is honored to have loaned a print by Margaret Bourke-White for the exhibition.

Margaret Bourke-White/©Life Picture Collection:  Acoma Pueblo, New Mexico, (for TWA), 1935

Gaston County considering defunding history museum; comes less than a year after a dispute between county officials and the museum over a photo of two men kissing

Via The Gaston Gazette
March 29, 2023

"Gaston County officials are considering defunding the Museum of Art and History, a move that could, according to some, force the museum to close its doors.....County Manager Kim Eagle brought up the museum, which is located in Dallas, at a county work session on Tuesday, asking for input from the Board of Commissioners on whether to continue funding the museum as a county department.

The talk of pulling funding comes less than a year after a dispute between county officials and the museum over a photo of two men kissing that the county manager ordered to be pulled from an exhibit."

2019 Charlotte, North Carolina Pride Parade, August 18, 2019

Grant Baldwin's photograph is in our exhibit at The AIPAD Photograph Show in New York City this weekend, March 30 - April 2, booth #114, Center 415, 415 5 Avenue.

Harwood Museum of Art announces Centennial Celebration in 2023; Monroe Gallery loans Margaret Bourke-White photograph

 

Via The Taos News

February 13, 2023

Harwood Museum of Art announces Centennial Celebration in 2023

Harwood Museum of Art of the University of New Mexico announces the celebration of its one-hundred-year anniversary in 2023. 

To mark the museum’s role as a steward of Western history and American art, Harwood’s Centennial celebration will take place from June 3, 2023 to January 28, 2024 and will include a major exhibition, publication and a full calendar of educational and community programs.  

Burt and Lucy Harwood made art and education the soul of Harwood when they purchased the property on historic Ledoux Street in 1916. The Harwood Foundation was founded in 1923; Originally a library born from the lending library Lucy Harwood began in her then-home, the museum has since become an international destination for tens-of-thousands of visitors each year. 

Accredited by the American Alliance of Museums, and the second-oldest museum in New Mexico, Harwood celebrates Taos’ artistic legacy, cultivates connections through art and inspires a creative future. 

“This is a great milestone for Harwood, which has been a cultural anchor in Taos,” said Juniper Leherissey, executive director. “As the museum has evolved and changed, what endures is the strength in art and creativity that we hope to continue to inspire long into the future.”

The kick-off for the Centennial will take place with opening events at the museum on Friday, June 2 and Saturday, June 3. This will be followed by the Harwood 100 Birthday Bash on Saturday, June 17 at the Sagebrush Events Center from 5:30-10 pm. The Harwood 100 Birthday Bash will include Taos Pueblo’s Hail Creek Singers, mariachis, and dance music by Big Swing Theory. Tickets will go on sale in March.

From June 2023 to January 2024, the Centennial exhibition will fill all nine galleries and will take visitors on a journey through the museum’s rich history, including 200 works of art from Harwood’s collection and 200 books from the former Harwood Public Library, along with significant works on loan by artists Ansel Adams, Paul Strand, Margaret Bourke-White, Elaine de Kooning and Georgia O’Keeffe. Continue to full article here.

For more information, visit  https://harwoodmuseum.org/centennial/.

Poor People’s Art: A (Short) Visual History of Poverty in the United States; Artist's talk with Nina Berman January 12

 

January 13 – March 4, 2023

University of South Florida Contemporary Art Museum

Nina Berman: John Bonner and Richard Huntly, from the series The Black Boys of Dozier, 2013 

Thousands of boys, mainly black, passed through Dozier since it opened in 1901 as a reform school for wayward boys. But allegations over the years suggest it functioned more like a slave labor camp, with verified reports of children being hog tied and shackled. The name of the institution changed as each successive administration installed its own brand of punishment and forced labor, finally closing in 2011, not because of allegations, but according to the State, because of budget issues.

Panel discussion Thursday, January 12 with artists featured in Poor People’s Art: A (Short) Visual History of Poverty in the United States, including Nina Berman, Rico Gatson, and Jason Lazarus. Curator Christian Viveros-Fauné will lead the conversation exploring issues and topics addressed in the exhibition. This event is free and open to the public, Facebook live link here.

Dr. Martin Luther King Jr. is well known for his “I Have a Dream” speech, yet much less emphasis is placed on his campaign to seek justice for America’s poor, “The Poor People’s Campaign.” This was a multi-cultural, multi-faith, multi-racial movement aimed at uniting poor people and their allies to demand an end to poverty and inequality. Fifty-three years after Dr. King’s death, the Reverend William Barber II launched a contemporary push to fulfill MLK’s ambitious brief — one that calls for a “revolution of values” that unites poor and impacted communities across the country. The exhibition Poor People’s Art: A (Short) Visual History of Poverty in the United States represents a visual response to Dr. King’s “last great dream” as well as Reverend Barber’s recent “National Call for Moral Revival.”

With artworks spanning more than 50 years, the exhibition is divided into two parts: Resurrection (1968-1994) and Revival (1995-2022). Resurrection includes photographs, paintings, prints, videos, sculptures, books, and ephemera made by a radically inclusive company of American artists, from Jill Freedman's photographs of Resurrection City, the tent enclave that King's followers erected on the National Mall in 1968, to John Ahearns' plaster cast sculpture Luis Fuentes, South Bronx (1979). Revival offers contemporary engagement across a range of approaches, materials, and points of view. Conceived in a declared opposition to poverty, racism, militarism, environmental destruction, health inequities, and other interlocking injustices, this exhibition shows how artists in the US have visualized poverty and its myriad knock-on effects since 1968. Participating artists include John Ahearn, Nina Berman, Martha De la Cruz, Jill Freedman, Rico Gatson, Mark Thomas Gibson, Corita Kent, Jason Lazarus, Miguel Luciano, Hiram Maristany, Narsiso Martinez, Adrian Piper, Robert Rauschenberg, Rodrigo Valenzuela, William Villalongo & Shraddha Ramani.

Poor People’s Art is curated by Christian Viveros-Fauné, CAM Curator-at-Large and organized by the USF Contemporary Art Museum.   Exhibition Press Release

Gaston County (North Carolina) forced museum to take down a photo of two men kissing; barred mention of Pride Month on its Facebook pages

 

Via Kara Fohner, The Gaston Gazette

Thu, July 7, 2022 

"Gaston County officials axed a social media post by the Gaston County Museum of Art and History that would have recognized Pride Month.

The decision came around a week before the county forced the museum to take down a photo of two men kissing, according to emails released by the county."

Article continues here

Related coverage here and here

The photograph was ordered removed from the Gaston County Museum exhibit "Into the Darkroom" photography, which, according to the museum, showcases "the evolution of photography, impacts of photography on human history, and highlights local photographers." It is now on exhibit at Monroe Gallery of Photography in the current exhibit "Imagine A World Without Photojournalism", on view through September 18, 2022

Ansel Adams: Pure Photography at the New Mexico Museum of Art

 

Via New Mexico Museum of Art

Ansel Adams is one of the first names that springs to mind when people think about photography. This exhibition of sixteen prints from the museum’s collection, augmented with two promised gifts, concentrates on the photographs that Adams made around 1932, before he became a household name.

In the late 1920s, Adams shifted away from the soft-edged style of pictorialism, prominent in the early twentieth century, toward hard-edged modernism. In 1932, he and several of his San Francisco Bay Area compatriots formed Group f/64 and issued a manifesto declaring their dedication to “pure photography.” For Adams, that meant a commitment to the precision of the camera; use of glossy, high-contrast photo paper; and visualization of the final image before releasing the shutter.

Ansel Adams: Pure Photography includes close-up nature studies, portraits, and views of architecture Adams made during this formative time. A small selection of later photographs, including two of his most iconic prints, Aspens, New Mexico and Moonrise, Hernandez, New Mexico. The artist’s hard work and ambition come to fruition in these later images, illustrating how his work of the 1930s developed into the mature style for which he is internationally celebrated.

Related: A look at the early, intimate works of photographer Ansel Adams

Gallery Photographers Margaret Bourke-White and Alfred Eisenstaedt Included in “Masters of Photography" Exhibit

 

Via The San Diego Union Tribune

November 14, 2021

"Finally opening one year after its scheduled debut, the San Diego Museum of Art’s new photography exhibition will display some of the medium’s most recognizable and influential names, including Ansel Adams, Dorothea Lange, Aaron Siskind and Alfred Eisenstaedt.

“Things as They Are: City, Society and Conflict” covers everything from a chilling shot of Nazi minister of propaganda Joseph Goebbels by Alfred Eisenstaedt in 1933. Two of Bourke-White’s prints are on view in the “Things as They Are: City, Society and Conflict” section. One is a 1951 image of the U.S. Navy aircraft carrier Boxer, stationed in San Diego, the other is of the Buchenwald concentration camp liberation in 1945. "

Museum Exhibit Surveys Relationship of Painting to Photography

Jackie, 1964.

Acrylic and silkscreen ink on linen, 20 x 16 inches.

The Andy Warhol Museum, Pittsburgh. Founding Collection,

Contribution The Andy Warhol Foundation for the Visual Arts, Inc.

© 2010 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York.

 

Shared Intelligence: American Painting and the Photograph

May 20, 2011 - September 11, 2011
The Georgia O'Keeffe Museum
Curators: Jonathan Weinberg and Barbara Buhler Lynes



Shared Intelligence will be the first major museum exhibition to survey the fraught but highly productive relationship of painting to photography in 20th-Century American Art. It brings together approximately 75 photographs and paintings by such artists as Robert Bechtle, Chuck Close, Thomas Eakins, Sherrie Levine, Georgia O’Keeffe, Cindy Sherman, Charles Sheeler, Ben Shahn, Edward Steichen, and Alfred Stieglitz for whom the two mediums were essential to their practices.


In opposition to Modernist critics such as Clement Greenberg and John Szarkowski, who have tried to establish the autonomy of painting and photography, a crucial theme of this exhibition is the way in which the two mediums have always intersected and spilled into each other. The camera has been used repeatedly to reinvigorate painting, even as photography has been frequently enriched by a dialogue with painting.

Whereas in the beginning of the 20th Century photographers felt obligated to justify their use of the camera as a means of expression, today the question is no longer, can photography be the equal of painting but rather has the photograph, and photo-based images, supplanted painting’s position in the hierarchy of the art world. Certainly it is nearly impossible to imagine a contemporary artist whose work is untouched by the camera, if only as a means of reproduction. And yet the photograph’s role in modern art goes far beyond reproduction or even as a source of subject matter. Photographic seeing, the way the lens freezes, flattens, enlarges and crops the world conditions all visual representations. Above all there is no way of escaping the photographic archive, the camera’s service to the vast legal, scientific and economic systems of knowledge that categorize and regulates modern existence itself.

Central to the exhibition will be the role of the crop and the close up in the modernist figurative tradition. O’Keeffe’s early work cannot be separated from the photographic practice of her husband, Alfred Stieglitz and the other photographers he represented. Her use of the close up in her paintings, while not literally based on particular photographs, responded to and influenced the photographs of Stieglitz and of Paul Strand. Certainly Stieglitz and his collaborator, Edward Steichen, were profoundly influenced by contemporary painting and collage (Steichen began his career as a painter).

The exhibition will pair paintings and photographs in which the visual relationship is both compelling and intrinsic to the creative process. How did Ben Shahn translate his photographs of a store window into a painting of the same subject? What elements did David Hockney take from his photographs of pools and swimmers in order to create a painting of a boy diving into the water? How does Chuck Close obsessively grid out and copy his source material so that in the end the process itself becomes an essential part of the work’s meaning? The aggregate result of the exhibit will be to refute the idea that painting from a photograph is some sort of failure of imagination or technique—rather the two mediums enrich each other. Ultimately, the exhibition will emphasize the role of the artist as picture maker, rather than as either painter or photographer.

Museum information and tickets here.

Elvis Presley and Muhammad Ali Photographs Tell Stories of Two American Icons

Andrew Berg, 12, of Souderton, Pa., views photographs of Muhammad Ali by Neil Leifer, right, and an anonymous photographer, left, at the James A. Michener Museum in Doylestown, Pa. Two American superstars have crossed paths in suburban Philadelphia at the museum, where a pair of photography exhibits called American Icons offers a peek into the lives of Elvis Presley and Muhammad Ali. AP Photo/Matt Rourke.

Via artdaily.org

By: Kathy Matheson, Associated Press


DOYLESTOWN, PA (AP).- In a culture saturated with celebrity magazines, paparazzi and red carpets, it's hard to imagine capturing an image of a young Elvis Presley alone on the sidewalk in New York. Or a picture of Muhammad Ali at play with neighborhood kids in a parking lot.

No screaming fans, no camera flashes, no entourages.

These unguarded moments are among dozens featured in "Ali and Elvis: American Icons," a pair of photography exhibits sharing gallery space through May 15 at the James A. Michener Museum in Doylestown, Pa., about 25 miles north of Philadelphia. This is the first time the exhibits have been displayed together.

The Smithsonian-curated "Elvis at 21" show offers a glimpse into Presley's life just as his star begins to rise. Needing publicity photos, Presley's record company hired photographer Alfred Wertheimer in 1956 to shadow the rock-n-roll prince who would become The King.

Wertheimer had extraordinary access, said Smithsonian project director Marquette Folley.

"After this year, 1956, no one can ever get this close again," Folley said. "The walls go up."

The images of Ali, taken by multiple photographers, chronicle his years from teen boxer to his reign as The Greatest to a beloved figure battling Parkinson's disease. They were first displayed at a Hofstra University symposium on Ali in 2008.

Putting the exhibits together was simply an effort to take a broader look at the concepts of fame and the making of icons, said Brian Peterson, chief curator at the Michener Museum.

Certainly the two superstars had similarities. Both sons of the South, Presley and Ali enjoyed worldwide popularity but also alarmed some people with their swagger and attitude — Elvis with his thrusting pelvis and use of African-American rhythms in his music, Ali with his braggadocio and conversion to Islam.

Wertheimer's 56 images — most enlarged to 3-by-4-foot prints — capture Presley's electrifying stage persona but also his more intimate moments: standing in solitude in front of New York's Warwick Hotel; sprawling on a couch reading fan mail; and interacting with his family.

Wertheimer also chronicles one summer week that found the American idol rehearsing alone at a piano for an appearance on Steve Allen's show in New York, kissing a giddy fan backstage in Richmond, Va., and splashing in his swimming pool at home in Memphis, Tenn.

"I was basically putting Elvis under my microscope," Wertheimer, now 81, told The Associated Press. "He permitted closeness."

The bulk of "Muhammad Ali: The Making of an Icon" features shots of the heavyweight champ in and around the ring: training in Miami; absorbing blows from George Foreman in Zaire; and looming over a floored Sonny Liston in Neil Leifer's famous frame from 1965.

But the exhibit starts with less familiar and more personal images from when Ali was known as Cassius Clay — shadowboxing with his family, preening in front of a mirror and riding a bike with adoring local children. It ends with pictures of Ali the celebrity and humanitarian, lighting the Olympic torch in Atlanta and receiving the Presidential Medal of Freedom.

Curator Hava Gurevich said the power of the 50-image show lies in its combination of fine art, documentary and news photography.

"It's like a kaleidoscopic view of Muhammad Ali's life," Gurevich said.

Peterson, the Michener curator, said he didn't find out until after booking them that Presley and Ali had actually crossed paths. Elvis visited Ali's training camp in Pennsylvania's Pocono Mountains and gave him a rhinestone cape; Ali gave The King an autographed pair of gold boxing gloves.

"I can't say it was part of our grand plan," Peterson said. "(But) it made us feel we were kind of on the right track."

The next stop for "Elvis at 21" is the William J. Clinton museum in Little Rock, Ark. The next stop for "Muhammad Ali: The Making of an Icon" is the Historic City Hall Arts & Cultural Center in Lake Charles, La.

Copyright 2011 The Associated Press

Pictures, Letters, and Case Files of Martin Luther King Assassin Shown in Online Museum

James Earl Ray is being transported in Memphis, Tennessee this 1968 photo released by the Shelby County Register's office on March 31, 2011. A Memphis county official has opened an online museum of case files, personal correspondence and little-seen black-and-white images chronicling the jail time of James Earl Ray, who killed civil rights leader Martin Luther King Jr. 43 years ago this Monday. REUTERS/Shelby County Register of Deeds.





By: Tim Ghianni
Via artdaily.org


NASHVILLE, TN (REUTERS).- A Memphis county official has opened an online museum of case files, personal correspondence and little-seen black-and-white images chronicling the jail time of James Earl Ray, who killed civil rights leader Martin Luther King Jr. 43 years ago this Monday.

"This is not just an incredible part of Shelby County history and Tennessee history, but national and world history," said Tom Leatherwood, 54, Shelby County register of deeds.

The Rev. Martin Luther King Jr. was gunned down by Ray at the city's Lorraine Motel, sparking unrest across the country and an international manhunt for the killer.

The "museum" can be visited at register.shelby.tn.us. Scroll down below the "archives" section to find the "Martin Luther King Assassination Investigation" link, highlighted in small yellow print.

Making these mostly unseen images and documents available to the public is part of Leatherwood's effort to get the city's historical and genealogical records online and accessible.

One section of the site contains a mammoth batch of documents of the killer's legal proceedings Leatherwood found in 2007.

"I was walking through with a county archivist to try to organize and identify material. We saw this package and we turned it over and we saw 'James E. Ray,'" Leatherwood recalled. "That was a pretty exciting moment for someone who likes history and archives."

He says it took this long to make the records accessible because he needed to get permission from the public defender's office to post files detailing efforts by Ray's attorneys.

Memphis photographer Gil Michael, 77, was caught off-guard when he saw that the site contained photos of Ray that he took on the night he was booked.

Michael, then director of photography for the University of Memphis, was asked by the sheriff's office to volunteer his time and take pictures to be distributed to news outlets. "It wasn't feasible to have tons of media in there," said Michael, who Ray tried to kick as he was shooting a picture.

Michael has asked about the photos and the negatives over the years and was told no one could find them. Now that some are on display, he wonders if he has any legal claim to ownership and if the negatives are anywhere to be found. Michael said he is mainly interested in being credited for his work.

Leatherwood was in grade school at the time of the assassination, and remembers the turmoil.

"I remember the National Guard had been called out. There were soldiers with rifles and soldiers going around in Army trucks... " Leatherwood said. "It was a very tumultuous time."

Ray pleaded guilty, though he recanted and unsuccessfully fought to clear his name. He died in prison in 1998.

(Writing and reporting by Tim Ghianni; editing by Mary Wisniewski and Greg McCune)

FINAL WEEK FOR "BILL EPPRIDGE: AN AMERICAN TREASURE"

Bill Eppridge: An American Treasure continues through September 26. This first-ever retrospective for the acclaimed photojournalist has been a major event since its opening on July 2. As a fitting conclusion to the exhibit, we have gathered here some articles about the exhibit and Bill Eppridge.

Review: The Magazine - Bill Eppridge's work was as epic as the times themselves

Review: The Albuquerque Journal - An Eye on the Times

Documentary film: The Eye of The Storm  tells the story of the assassination of Bobby Kennedy through the eyes of five photojournalists, four of whom were in the room when he was shot.

Documentary film: Neshoba: The Price of Freedom revisits civil rights tragedy that Bill Eppridge covered

The historic master vintage print of Robert F. Kennedy shot included in Bill Eppridge: An American Treasure

Opening reception for Bill Eppridge: An American Treasure attended by Governor Bill Richardson

Bill Eppridge in High Museum exhibit Road To Freedom - Photographs from the Civil Rights Movement
(Travelled to Skirball Center and Bronx Museum of Art)

Bill Eppridge in Exposed: Voyeurism, Surveillance, and the Camera at Tate Modern and San Francisco Museum of Modern Art

Bill Eppridge in Folkwang Museum exhibit A Star is Born - Photography and Rock Since Elvis

Bill Eppridge at Woodstock

Bill Eppridge Receives the Prestigious Missouri Honor Medal for Distinguished Service in Journalism